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The morning is typically taken over by school, and the evening reserved for studying, work, or watching the Midnight Channel, which leaves the afternoon on most days for strengthening one’s “social links.” You go through every day in the life of your protagonist, each of which is separated into a morning, afternoon, and evening period. When the hero and his friends aren’t going toe-to-toe with enemies in epic battles, the game draws more from Japanese dating simulations. The dungeon-crawling is enjoyable, yes, but it’s truly telling how incredible this game is that the time spent between dungeons is perhaps its more compelling element. You’ll enter dungeons because there are people’s lives at stake, people to whom the game has introduced you and whom you want to save.
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Contrast this with Persona 3, in which the protagonists begin the game effectively exploring a dungeon because it’s there-the Apathy syndrome that drove that game’s plot a less urgent device than a series of grisly murders-and Persona 4 comes out leaps and bounds more engaging. This mystery-and its impact on the characters at your high school-is what drives you forward and keeps the game moving. In this introductory period, you’ll also glimpse the crux of the game’s plot: A series of murders that seems to be tied to the victims’ appearances on a strange, supernatural channel that appears at midnight on rainy nights, should one gaze into an unplugged TV. You get to play through a few days of school, interact with your peers (some of whom are future party members), and learn the lay of the land in rural little Yasoinaba. So you’re not all-alone-in-the-world this time out, having been provided with a de facto family, and while the game takes its time getting you to the actual action, the journey there feels more poignant and infuses your first combat experience with a real sense of emotion and just a hint of desperation. Considering this is a series that, at this point, is all about your protagonist’s relationships, that structure is warmly welcomed. Persona 4, though, takes pains to get its hooks into you from the word “go,” immediately providing context that seeks to emotionally tie you to the game.
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Persona 3 Portable had me worried, because I’d heard good things about that one, too, and the whole experience just seemed fairly flat and aimless to me. There are still elements that were obviously not in the original version of the game, due to inherent limitations of the PlayStation 2’s hardware and operating system, but this seems to, by and large, be a very faithful adaptation of the console title. Up until just now, I had never touched any version of Persona 4, and so any rebalancing or nuanced additions/subtractions regarding gameplay or story are going to be lost on me. The disclaimer on this review goes that, for me, this was entirely new territory. Now, as with all the previous entries in the Persona subseries, it has hit the Sony line of portable game consoles with Persona 4: Golden. To date, the game has spawned an animated series and a spin-off fighter, the latter of which was also quite well-received.
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It seems as though, while Persona 3 revived the long-dormant franchise, it was Persona 4 that really carried it into the limelight. in December of 2008, just a year and a half after we received its predecessor, Persona 3, Shin Megami Tensei: Persona 4 seemed to strike a chord with fans and critics alike. Originally released on the PlayStation 2 in the U.S.